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Matthew Brannon

Kerstin Brätsch

Munro Galloway

Elín Hansdóttir

Hilary Harnischfeger

Dana Hoey

James Howard

David Kearns

Alex Klein

Jessie LeBaron

Dushko Petrovich

Jon Pylypchuk

Lara Schnitger and My Barbarian

Corinna Schnitt

Jessica Slaven

Dan Torop

Amanda Trager

Roger White


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We Pictured You Reading This
Organised by Paper Monument, curated by James Bae
March - May 2010
Redux Contemporary Art Center, Charleston


Matthew Brannon
Soap and Water (Grey-Red), 2008
Letterpress print on paper, 24" x 30"
Soap and Water (Red-Red), 2008
Letterpress print on paper, 24" x 30"

The most worldly man I knew once attempted suicide, after a divorce. For weeks, he researched methods that would be the least taxing on others. He drank three bottles of brandy, tossed the keys to his bmw into the hedges, and placed a plastic bag over his head. His student found him the next morning, in his gray suit, quietly sleeping. There was a leak in the bag. In his obituary 27 years later, a colleague wrote that he never cared about his career, as far as I could tell.


Kerstin Brätsch
I spy, 2009
Artist’s books in bronzed box, 17" x 11" x 6"

The basic principles of “stuff” since Lascaux have been: objectification, containability, conservability, registry, classification, and documentation - all concepts enabling the assignment of values to products. You’re in good shape as long as you package what you have.


Munro Galloway
Green River, 2006
Acrylic and oil on paper, 20" x 26"
Nirvana, 2006
Acrylic and oil on paper, 20" x 26"
Cold Roses, 2006
Acrylic and oil on paper, 20" x 26"

A lost band, region, or state of mind. Buried in the foggy history of color, one group preceding another, more famous one, with harmony from a killer who egged on the inner-competitiveness of Ted Bundy.


Elín Hansdóttir
Peripheral, 2007
Halogen lights and colored gels, dimensions variable

The all in one is the here, the you, and the there.


Hilary Harnischfeger
The Road East, 2007
Mixed media, 9" x 12"

What tells you more about people than what they leave behind? The Byzantines laid tiles in coded mementos, painters made still-lives of a moment that never wanted to end. This is all about those things, plus a violence that completes.


Dana Hoey
THAW - Julia, 2006
Archival inkjet print, 20" x 16"

A world of fugues—ash, freeze, thaw, flood, drought. With a befuddled gaze into kenoma, the subject makes her way into Civilization from the State of Nature: the only real reward of citizenship, as Hobbes observed, is the contractual right to sue one another at will.


James Howard
He Say Terrible Thing, 2010
Inkjet print, 24" x 36"
The Option, 2010
Inkjet print, 36" x 24"

The world is afflicted with billions of offers per day promising wealth, prosperity, reunion with lost loved ones, biological tumescence, and the enhancement of life experience through wire transactions. The Ice Age is introduced by the third-world wolves at your door.


David Kearns
D.P.’s Studio, 2010
Acrylic on paper, 30" x 22"
Untitled 1-2-3, 2010
Acrylic on paper, 6 3/4" x 6 1/2", 9" x 7", 11 1/2" x 9"

A writer recently said during an otherwise unexceptional reading in West Hollywood that an arsonist “paints” a religious experience - like Fra Angelico - when he sets the mountains on fire. But nothing in his paintings or his write-up in the Lives of the Artists have lead me to believe that the Dominican actually destroyed property, for divine gain, in a beatific reverie.


Alex Klein
Genesis Breyer P-Orridge, 2008
C-print, 22" x 26"

We are inhabiting a refractory period that began with the last performance of Throbbing Gristle on May 29, 1981, at the Kezar Stadium in San Francisco, California. All the misprisions of the world are clarified in one gaze, granting everything.


Jessie LeBaron
Orchard, 2004
Oil on board, 12" x 12"

The coastline of the New World:
Air hanging from upper atmosphere
Crops rushing forth from the deep
A babe rushing forth from the womb.



Dushko Petrovich
Father Tongue, 2010
Oil on canvas, 11" x 14"

It’s a memory, or mythopoeia. Early ancestors, pre-salvation men and their entourages, crossed landbridges in the arctic ice, scraping out life, and then eating it. The jaw that made fat less obstinate to the palate, the gnashing teeth that left tissue more pliant.


Jon Pylypchuk
Vietnam Vet, 2009
Mixed media, 24" x 24" x 8"

This one makes me feel like 1) crying and 2) quitting my job.
Brother, can you spare? “Vintage” means the availability of tourist visas to places your nation had once criminally bombed.



Lara Schnitger and My Barbarian
The Only One, 2010
Digital video

Like some fearless voyeur, the work observes the contours of our inner prudes or deviants - whether our resident Emily Dickinson or the arched-brow piece of shit in all of us.


Corinna Schnitt
Von einer Welt, 2007
35mm film on DVD

“Tape: …The way they went down, sighing, before the stem! (Pause.) I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side.
Pause. Krapp’s lips move. No sound
Past midnight. Never knew such silence. The earth might be uninhabited.”


Jessica Slaven
Bernhard 2, 2009
Watercolor on paper, 16" x 12"

German tourism to Egypt doubled in the 1950s. Beyond the glamour, travelers noted the prevalence of poverty, rabid dogs, indigestible street food, pickpockets, and an overwhelming civic stench.
Decades later, Kentucky Fried Chicken is available ten minutes from Cheops.


Dan Torop
After Failure with Bird, 2002
C-print, 20" x 16"

The self’s continuity with nature, in acts of transport and momentary digressions, captured in the frame as if by a chance witness.


Amanda Trager
My Failing Father, 2002
Mixed media, 28" x 48" x 10 ½"

She found her husband —a straitlaced, bone-straight, banker husband—at the local Maypole of the liberally well-to-do: a farmers market. Their’s was a world, I imagined, where shrimp were gamberetti and cars decidedly anti-Semitic. Now divorced, she had moved back to Los Angeles to be near her family with a child ready to enter kindergarten, the alimony check covering what would be $7,000 a quarter for a five-year old.
“You know… we had it pretty well. And then he just kind of fucked it all up.”


Roger White
Green Sun, 2010
Acrylic on paper, 22" x 15"
Red Sun, 2010
Acrylic on paper, 21" x 14 1/2"

The promise of agency means reconciling what we think and feel to what we intend to say. Physics reminds us color isn’t material, but eidetic property. In March, with a horizon before six, a palaver between green skies and purple flares: wake up see the sun/what’s done is done